It is amazing how the Hindustani Classical music has a system of raagdari that invokes moods and is apt for certain seasons and times of the day. According to our calendar, Chaitra and Vaishakh are the months of the spring. Nature just gets up from the relative slumber of the winter and kicks into a mode of rejuvenation and rebirth. The melodies which aptly describe this reactivation, reboot that are most remembered are amazingly centred around a few raags. Listen to this one song based on the aptly named raag Basant.
Stree was a movie made by V Shantaram, and it was his adaptation of AbhidnyanaShakuntalam by Kalidas. Released in the early 60s, it was pretty much laid an egg at the box office, but was liked by the critics enough to be nominated to be India’s official entry at the Oscars that year. The movie with Shantaram himself and Sandhya in the lead roles, also had (his daughter from his union with an earlier wife Jayashree) Rajashree, and as expected, had lots of scope to show off the dancing skills of Sandhya and Rajashree. C Ramachandra composed the lovely musical score and Bharat Vyas wrote the lyrics.
When I saw this clip, the director’s vision and creative conceptualisation of the song is amply on display, what I wondered is how did those drummers and musicians go and seat themselves on their pedestals amongst the water and fountains and not get their clothes wet? The visuals are typical of V Shantaram with the massed dancers, the top down perspective that shows “flowers” blooming (that turn out to be paper appendages on the dancers) and the faux butterflies et al. C Ramachandra does justice to a composition that is based on the raag Basant, sung mainly by Asha Bhosle. Mahendra Kapoor fills in the few lines that are picturised on V Shantaram (Who plays Dushyanta in the movie)
Stree was made by V Shantaram, based on the story of Shakuntala and Dushyanta. Actually Shantaram had already made the hit film Shakuntala in the 40s with himself and Jayashree (his first wife) in the lead roles, the two were married at the time. Jayashree is remembered most for this role. After Jayashree separated from him thanks to Sandhya’s entry into his life, Shantaram sadly decided to remake the movie as an expression of love and appreciation of Sandhya. Made with expensive colour film stock, Shantaram and Sandhya played the lead roles of Dushyant and Shakuntala, with (to me at least) predictable results at the box office. You will realise the relative merits of the two movies if you see them both. After all, no matter how much lipstick you may put on a donkey, you can never make it look like a horse.
The musical score is fabulous though, thanks in no small measure to C Ramachandra. In keeping with the storyline of the movie, the movie has many chaste classical songs, with ‘O Nirdayee Pritam’ by Latadidi , ‘Kaun Ho Tum Kaun Ho’ by Mahendra Kapoor, ‘Srushti Thi Sunsaan’ by Manna Dey, and ‘Basant Hai Aayaa’ (Asha Bhosle with Mahendra Kapoor and a chorus, each one of them an unforgettable gem both for the lyrics (pure poetry in chaste Hindi by Pandit Bharat Vyas) and the pure Hindustani Classical based music composition is by C Ramchandra.
A bit of trivia: Actually just before the movie was made, Lata Mangeshkar had stopped working with her one time friend/ philosopher/guide/mentor C Ramchandra. V Shantaram wanted Latadidi to sing in this film. Thanks to his Kolhapur connection and old relationship with the Mangeshkar family, he brought about a rapprochement between Latadidi and Annasaheb (C Ramchandra) and two went to work in more films together .
This movie also has a beautiful melody which is a duet between Lata Mangeshkar and Mahendra Kapoor and is based on the very melodious Madhumad Sarang which centers around the “Gandharva Vivah” between Dushyant and Shakuntala.
Stay safe, stay healthy folks, and stay away from the Chinese virus, unleashed by the malevolent truly evil nation.
I woke up to this tune. Perhaps my current reading of the classic text of Dnyaneshwari and late night reading of the KaivalyaUpanishad had something to do with this. I remember hearing this song first at my older uncle’s home on his music system. He was very fond of music. This album is actually one very popular one, despite being not from any Bollywood film. It combines great, timeless lyrics (the outpouring of the heart of a legendary devotee of Shrikrishna, Sant Meerabai, who gave up a secure life in her palace for the sake of her one and only divine love), the incomparable composition by Pandit Hridaynath Mangeshkar is amazing. The singing is by Latadidi and it caresses the very soul with its gentle notes. She is sublime in this genre. Every time I have heard the composition, I have never failed to tear up.
The composition at a very slow tempo in Bhupali is just beatific. It calms me down and induces a different frame of mind , no matter what the mind is preoccupied with. No better therapy for the tormented soul.
Sant Meera Bai, was actually born Mihira and changed her name in all her devotional poetry to Meera, which is the way she is remembered more than 600 years after her lifetime. I can imagine the difficulties she must have faced giving up on a life of plenty in a royal family to remain steadfast in her devotion. An amazing tale of true love and devotion. The term Bhakti truly combines both love and devotion. One becomes unified and inseparable from the supreme being
साँवरे रंग राची राणा जी हूँ तो
बाँध घुँघरा प्रेम का हूँ तो
हरि के आगे नाची
साँवरे रंग राची
एक निरखत एक परखत है
एक करत मोरी हासी
और लोग म्हाअरी काईं करे सी
हूँ तो हरि जी प्रभु जी की दासी
साँवरे रंग राची
राणो विष को प्यालो भेजो
हूँ तो हिम्मत की काची
मीरा चरणा लागै छे साँची
साँवरे रंग राची राणा जी हूँ तो
बाँध घुँघरा प्रेम का हूँ तो
हरि के आगे नाची
साँवरे रंग राची
Stay safe, folks, as the auspicious day of Ram Navami makes us introspect and renew our bond with Shriram. Take care and stay healthy and away from the malicious Chinese Virus. Take the Jab!!
जवळजवळ ६० वर्षांपूर्वी (१९६२) आम्ही चीनच्या आक्रमण व त्यातून उद्भवलेल्या युद्धानंतर तेजपूरहून सिकंदराबाद जवळ हकिमपेट येथे आलो. माझे वडील हवाईदळात होते आणि त्यांचे स्क्वाड्रन स्थलांतरित झाले होते. त्यामुळे आमची रवानगी नव्या गावी झाली. तेजपूरच्या बांबूच्या बाष्यातून पक्क्या घरात आलो. आमच्या घरात सुंदर फुले व फळांची झाडे होती. तिथल्या आठवणी माझ्या मनात अजूनही घर करून राहिल्या आहेत.
आमचे खूप जवळचे स्नेही, माझे केळकरकाका खूप प्रेमळ होते. रोजच संध्याकाळी ते घरी येत. केळकर काकी आणि रमेश तेव्हां दापोलीत होते. काका आमच्याकडे येऊन मला रामरक्षा वगैरे स्तोत्रे शिकवत. माझ्यावर संस्कार होण्यात त्यांचा खूप मोठा वाटा आहे. त्यावेळेस शिकलेली रामरक्षा आज रामनवमीच्या पावन मुहूर्तावर सादर करतोय. आता खूप लोकांना संस्कृत कळत नाही म्हणून मराठी अर्थही देतो आहे.
मूळ स्तोत्र संस्कृत भाषेत बुधकौशिक ऋषींनी रचले आहे. इतक्या हजारो वर्षांपासून एका पिढीपासून दुसऱ्या पिढीला दिले आहे. किती सुंदर स्तोत्र आणि या अव्याहत देत राहिल्याने आज ही कित्येक घरात म्हटले जाते. मर्यादापुरुषोत्तम श्रीराम ५०० वर्षांपेक्षा जास्त वनवासात राहून लवकरच जन्मस्थानी परत जाईल- श्रीराम तोपर्यंत या चिनी विषाणूच्या अरिष्टातून विश्वाची मुक्ती करेल अशी प्रार्थना करतो. मंदिराला दर्शनासाठी लाखो, करोडो बांधव नक्की जातील, एक कुंभमेळाच अयोध्येत भरेल. जाऊ या सगळ्यांनी!
अस्य श्रीरामरक्षास्तोत्रमन्त्रस्य बुधकौशिक ऋषिः।
श्री सीतारामचंद्रो देवता। अनुष्टुप छंदः। सीता शक्तिः। श्रीमान हनुमान कीलकम। श्री सीतारामचंद्रप्रीत्यर्थे रामरक्षास्तोत्रजपे विनियोगः।
कीलकम् – आधारस्तंभ,कवच अर्थ – या रामरक्षास्तोत्ररूपी मंत्राचा ऋषि (रचणारा) बुधकौशिक असून छंद (वृत्त) अनुष्टुभ् आहे, सीता आणि श्रीरामचंद्र या देवता आहेत, सीता शक्ती आहे, हनुमान आधारस्तंभ आहे आणि श्रीरामचंद्राच्या प्रेमाने जपासाठी वापरला जावा म्हणून हा स्तोत्ररूप मंत्र निर्माण केला आहे
ध्यायेदाजानुबाहुं – ध्यायेत् + आजानुबाहुं, नीरदाभम् – नीरद म्हणजे मेघ, त्याच्यासारखी कांती असणारे श्रीराम, दधतमुरुजटामण्डनं – दधतम् + उरू + जटामंडनं , दधतम् – धारण करणारा, उरू – विस्तृत, मोठ्या, जटामंडनं – जटांनी सुशोभित असलेला अर्थ – आता ध्यानाची सुरुवात करू या. गुडघ्यापर्यंत हात असलेल्या, धनुष्यबाण धारण केलेल्या, बद्धपद्मासनात बसलेल्या, पिवळ्या रंगाचे वस्त्र परिधान केलेल्या, नुकत्याच उमललेल्या कमळाच्या पाकळीशी स्पर्धा करणाऱ्या प्रसन्न अशा श्रीरामांचे ध्यान करू या. त्याच्या डाव्या मांडीवर सीता बसलेली आहे, श्रीरामाची नजर तिच्या मुखकमलाकडे लागलेली आहे. श्रीरामांची कांती मेघश्याम आहे. शरीर निरनिराळ्या अलंकारांच्या शोभेने झळकत आहे. मोठ्या जटांमुळे त्यांचा चेहरा सुशोभीत झालेला आहे.
चरितं रघुनाथस्य शतकोटिप्रविस्तरम् । एकैकमक्षरं पुंसां महापातकनाशनम् ॥ १ ॥ शतकोटिप्रविस्तरम् – शंभर कोटी श्लोकांइतके विस्तृत, पुंसां – पुरुषांची अर्थ – श्रीरामाचे चरित्र शंभर कोटी श्लोकांइतके विस्तृत आहे. त्याचे केवळ एक अक्षरसुद्धा पुरुषाची मोठी पापे नष्ट करण्यास समर्थ आहे.
ध्यात्वा नीलोत्पलश्यामं रामं राजीवलोचनम् । जानकीलक्ष्मणोपेतं जटामुकुटमण्डितम् ॥ २ ॥ नीलोत्पलश्यामं – नील + उत्पल + श्यामं, उत्पल – कमळ, राजीव – कमळ, जानकीलक्ष्मणोपेतं – जानकी + लक्ष्मण + उपेतं, म्हणजे सीता आणि लक्ष्मण ज्याच्या जवळ आहेत असा अर्थ – नीलकमळासारखा सावळा रंग असलेल्या आणि कमळासारखे नेत्र असलेल्या रामाचे ध्यान करावे. सीता आणि लक्ष्मण ज्याच्या सन्निध असून ज्याचे मस्तक जटारूपी मुकुटाने सुशोभित आहे
सासितूणधनुर्बाणपाणिं नक्तंचरान्तकम् । स्वलीलया जगत्त्रातुमाविर्भूतमजं विभुम् ॥ ३॥ सासितूणधनुर्बाणपाणिं – स + असि + तूण + धनुर् + बाण + पाणिं, असि = तलवार, तूण = भाता, म्हणजे धनुष्यबाण आणि भात्याबरोबरच तलवारही हाती असणारे, नक्तंचरान्तकम् – नक्तं + चर + अंतकम्, नक्तं – रात्र, नक्तंचर – निशाचर म्हणजे दानव, राक्षस, नक्तंचरांतकं – राक्षसांचा नाश करणारा, जगत्त्रातुमाविर्भूतमजं – जगत्रातुम् + आविर्भूतम् + अजम्, जगत्रातुम् – जगत् + त्रातुम् , म्हणजे जगाच्या रक्षणासाठी , आविर्भूतम् – स्वतःला प्रकट केले आहे, अजम् म्हणजे जन्मरहित आणि म्हणूनच मृत्युरहित सुद्धा. विभुम्- व्यापून उरणारा. ह्या शेवटच्या दोन ओळींतील विशेषणे श्रीरारामाच्या रुपाने अवतार घेणाऱ्या परमात्म्याला श्रीविष्णूला लागू होतात. अर्थ – आणखी एक म्हणजे मूलत: जन्मरहित व सर्वव्यापक असूनही त्याने जगाच्या रक्षणासाठी स्वतःस मर्यादित स्वरूपात सहज लीलेने प्रकट केले आहे. बाकी अर्थ सहज स्पष्ट होईल.
रामरक्षाम् पठेत् प्राज्ञः पापघ्नीं सर्वकामदाम् । शिरो मे राघवः पातु भालं दशरथात्मजः ॥ ४ ॥ प्राज्ञः – प्रज्ञावान, सूज्ञ पुरुष, पापघ्नीं – पापाचा नाश करणारी (रामरक्षा) सर्वकामदाम् – काम – इच्छा. सर्व इच्छा पूर्ण करणारी (रामरक्षा) असा अर्थ अर्थ – रामरक्षा पापांचा नाश करणारी व सर्व इच्छा पूर्ण करणारी असल्याने सूज्ञ लोकांनी तिचे पठण करावे.(दुसऱ्या ओळीपासून कवच सुरू होते) रघूच्या कुळात उत्पन्न झालेला राम माझ्या कपाळाचे रक्षण करो. दशरथाचा पुत्र कपाळाचे रक्षण करो.
कौसल्येयो दृशौ पातु विश्वामित्रप्रियः श्रुती । घ्राणं पातु मखत्राता मुखं सौमित्रिवत्सलः ॥ ५ ॥ मखत्राता – मख म्हणजे यज्ञ, त्राता म्हणजे रक्षण करणारा, अर्थ – कौसल्येचा पुत्र माझ्या दृष्टीचे रक्षण करो, विश्वामित्राला प्रिय (असलेले श्रीराम) माझ्या कानांचे रक्षण करोत, इथे विशेषणाची चपखलता लक्षात घेण्यासारखी आहे. श्रुतींसाठी विश्वामित्राशी संबंधित विशेषणच का, कारण विश्वामित्राने श्रुतींद्वारे म्हणजे कानांद्वारे विद्येचे संस्कार रामावर केले. यज्ञाचे रक्षण करणारे (श्रीराम) माझ्या नाकाचे रक्षण करोत तर सुमित्रेचे ज्यांच्यावर प्रेम आहे (श्रीराम) माझ्या मुखाचे रक्षण करोत.
जिह्वां विद्यानिधिः पातु कण्ठं भरतवन्दितः । स्कन्धौ दिव्यायुधः पातु भुजौ भग्नेशकार्मुकः ॥ ६ ॥ भग्नेशकार्मुकः – भग्न + ईश + कार्मुक:, ईश – शंकर, कार्मुक – धनुष्य, शिवधनुष्य भंग करणारे (श्रीराम) अर्थ – विद्येचा खजिना असलेले माझ्या जिभेचे रक्षण करोत (जीभ कारण तिच्या टोकावरच विद्या नर्तन करते असे मानतात) तर भरताला वंदनीय असलेले माझ्या कंठाचे रक्षण करोत. दिव्य शस्त्रास्त्रे असलेले माझ्या खांद्यांचे रक्षण करोत (खांद्यांचे कारण कदाचित काही अस्त्रे चालवण्यासाठी खांद्यांचा आधार घ्यावा लागत असावा). तर शिवधनुष्याचा भंग करणारे माझ्या भुजांचे रक्षण करोत (ज्या हातांनी शिवधनुष्य भंगले म्हणून हात).
करौ सीतापतिः पातु हृदयं जामदग्न्यजित् । मध्यं पातु खरध्वंसी नाभिं जाम्बवदाश्रयः ॥ ७ ॥ जामदग्न्यजित् – जमदग्निपुत्र परशुरामाला जिंकणारे श्रीराम अर्थ – सीतेचे पती माझ्या हातांचे रक्षण करोत (पतीचा एक अर्थ रक्षणकर्ता. सीतेचे रक्षण करणारा माझेही रक्षण करो असे काहीसे) तर परशुरामाला जिंकणारे माझ्या हृदयाचे रक्षण करोत. खर नावाच्या राक्षसाचा नाश करणारे माझ्या मध्यभागाचे रक्षण करोत तर जांबुवंताला आश्रय देणारे माझ्या नाभिचे रक्षण करोत.
सुग्रीवेशः कटी पातु सक्थिनी हनुमत्प्रभुः । ऊरू रघूत्तमः पातु रक्षःकुलविनाशकृत् ॥ ८ ॥ अर्थ – सुग्रीवाचे देव माझ्या कंबरेचे रक्षण करोत तर हनुमंताचे प्रभु माझ्या दोन्ही जांघांचे रक्षण करोत. रघुकुळातले उत्तम (पुरुष) व राक्षसांच्या कुळांचा नाश करणारे माझ्या मांड्यांचे रक्षण करोत
जानुनी सेतुकृत् पातु जङ्घे दशमुखान्तकः । पादौ विभीषणश्रीदः पातु रामोऽखिलं वपुः ॥ ९ ॥ वपुः – शरीर अर्थ – सेतु बांधणारे माझ्या गुडघ्यांचे रक्षण करोत तर दोन्ही पोटऱ्यांचे रक्षण दशमुख रावणाचा अंत करणारे करोत. बिभीषणाला राज्य व संपत्ती देणारे माझ्या पावलांचे रक्षण करोत तर श्रीराम माझ्या सर्व शरीराचे रक्षण करोत.
एतां रामबलोपेतां रक्षां यः सुकृती पठेत् । स चिरायुः सुखी पुत्री विजयी विनयी भवेत् ॥ १० ॥ अर्थ -(इथे कवच संपून फलश्रुति सुरू होते) जो पुण्यवान मनुष्य रामबलाने युक्त असा रक्षेचे (कवचाचे) पठण करेल तो दीर्घायु, सुखी, पुत्रवान, विजयी आणि विनयी होईल
पातालभूतलव्योम चारिणश्छद्मचारिणः । न द्रष्टुमपि शक्तास्ते रक्षितं रामनामभिः ॥ ११ ॥ पातालभूतलव्योम चारिणश्छद्मचारिणः – याची फोड पातालभूतलव्योमचारिण: + छद्मचारिणः अशी आहे. पातालभूतलव्योमचारिण: – पाताळ, भूमी आणि आकाश या तिन्ही लोकांत संचार करणारे, छद्मचारिणः – कपटी, मायावी खोटे सोंग घेणारे (राक्षस) दुसऱ्या ओळीचा अर्थ – रामनामाने रक्षिलेल्या लोकांकडे असे (पहिल्या ओळीत वर्णन केलेले) मायावी आणि कपटी राक्षस नजर वर उचलून पण पाहू शकत नाहीत.
रामेति रामभद्रेति रामचन्द्रेति वा स्मरन् । नरो न लिप्यते पापैर्भुक्तिं मुक्तिं च विन्दति ।। १२ ॥ अर्थ – राम अथवा रामभद्र अथवा रामचंद्र या नावाने जो स्मरण करतो तो मनुष्य कधीही पापाने लिप्त होत नाही व त्याला सुखोपभोग आणि मुक्ति मिळतात.
जगज्जैत्रेकमन्त्रेण रामनाम्नाभिरक्षितम् । यः कन्ठे धारयेत्तस्य करस्थाः सर्वसिध्दयः ॥ १३ ॥ जगज्जैत्रेकमन्त्रेण – जगज्जेत्रा + एकमन्त्रेण जग जिंकणाऱ्या एका मंत्राने, रामनाम्नाभिरक्षितम् – रामनाम्ना + अभिरक्षितम् – रामनामाने सर्व बाजूंनी रक्षण होते अर्थ – सर्व जग जिंकणाऱ्या या रामनामरूपी एका मंत्राने मनुष्याचे सर्व बाजूंनी रक्षण होते. जो हा मंत्र कंठात धारण करतो (पाठ करतो) त्याच्या हातात सर्व सिद्धी येतात.
वज्रपञ्जरनामेदमं यो रामकवचं स्मरेत् । अव्याहताज्ञः सर्वत्र लभते जयमङ्गलम् ॥ १४ ॥ अव्याहताज्ञः – म्हणजे त्याची आज्ञा कधीही मोडली जात नाही असा अर्थ – हे कवच वज्राचा पिंजऱ्यासारखे अत्यंत संरक्षक असल्याने याला वज्रपंजर असे नाव आहे. ह्या कवचाचे जो नित्य स्मरण करतो त्याची आज्ञा अबाधित राहते आणि त्याला सर्वत्र मंगलमय विजय मिळतो.
आदिष्टवान् यथा स्वप्ने रामरक्षामिमां हरः । तथा लिखितवान् प्रातः प्रबुद्धो बुधकौशिकः ॥ १५ ॥ अर्थ – भगवान शंकरांनी ज्याप्रमाणे स्वप्नात येऊन ही रामरक्षा सांगितली त्याप्रमाणे सकाळी उठून बुधकौशिक ऋषींनी ती लिहिली.
आरामः कल्पवृक्षाणां विरामः सकलापदाम् । अभिरामस्त्रिलोकानां रामः श्रीमान् स नः प्रभुः ॥ १६ ॥ आरामः – बाग, वन, विरामः – शेवट करणारा, सकलापदाम् – सकल + आपदाम् – म्हणजे सर्व दु:खसंकटांचा, अभिरामस्त्रिलोकानां – अभिराम: + त्रिलोकानां – तिन्ही लोकांना आवडणारा, श्रीमान् – श्रीमंत, स नः प्रभुः – तो आमचा देव आहे यापुढील (२०व्या श्लोकापर्यंतचे)वर्णन श्रीराम व लक्ष्मण या दोघांचे आहे.
फलमूलाशिनौ दान्तौ तापसौ ब्रह्मचारिणौ । पुत्रौ दशरथस्यैतौ भ्रातरौ रामलक्ष्मणौ ॥ १८ ॥ फलमूलाशिनौ – फल + मूल + अशिनौ, म्हणजे फळे व कंदमुळे भक्षण करून राहणारे, दान्तौ – इंद्रिये दमन करणारे, जितेंद्रिय अर्थ – फळे व कंदमुळे भक्षण करून राहणारे, जितेंद्रिय, तपस्वी, ब्रह्मचारी असे हे दशरथाचे दोन पुत्र व एकमेकांचे भाऊ म्हणजे राम व लक्ष्मण.
शरण्यौ सर्वसत्वानां श्रेष्ठौ सर्वधनुष्मताम् । रक्षः कुलनिहन्तारौ त्रायेतां नो रघूत्तमौ ॥ १९ ॥ शरण्यौ सर्वसत्वानां – सत्त्व म्हणजे प्राणी. याचा अर्थ सर्व प्राण्यांचे आश्रयस्थान अर्थ- सर्व प्राण्यांचे आश्रयस्थान असलेले, सर्व धनुर्धारी योद्ध्यांमध्ये श्रेष्ठ, राक्षसांच्या कुळांचा वध करणारे रघुकुळातले श्रेष्ठ वीर, म्हणजे राम व लक्ष्मण, आमचे रक्षण करोत.
आत्तसज्जधनुषाविषुस्पृशावक्षयाशुगनिषङ्गसङ्गिनौ । रक्षणाय मम् रामलक्ष्मणावग्रतः पथि सदैव गच्छताम् ॥ २० ॥ आत्तसज्जधनुषाविषुस्पृशावक्षयाशुगनिषङ्गसङ्गिनौ – आत्तसज्जधनुषौ + ईषुस्पृशावक्षयाशुगनिषङ्गसङ्गिनौ, पैकी आत्तसज्जधनुषौ – आत्त + सज्ज + धनुषौ + ईषुस्पृशौ यातील आत्त- धारण केलेले, ईषुस्पृशौ – ईषु म्हणजे बाण, बाण लावून सज्ज केलेले धनुष्य धारण केलेले (रामलक्ष्मण) असा एकूण अर्थ आणि अक्षयाशुगनिषङ्गसङ्गिनौ – अक्षय + आशुग + निषङ्ग + सङ्गिनौ, यातील अक्षय – म्हणजे कधीही न संपणारा, आशुग – पुढे जाणारा बाण, निषङ्ग – भाता, सङ्गिनौ – जवळ असलेले, रामलक्ष्मणावग्रतः- रामलक्ष्मणौ + अग्रतः , अग्रतः= पुढे अर्थ – बाण लावून सज्ज केलेले धनुष्य धारण केलेले तसेच पुढे जाणाऱ्या बाणांचा कधीही न संपणारा अक्षय भाता जवळ असलेले(श्रीराम व लक्ष्मण) माझ्या रक्षणाकरता मार्गामध्ये नेहमी माझापुढे चालोत.
संनद्धः कवची खड्गी चापबाणधरो युवा । गच्छन् मनोरथोऽस्माकं रामः पातु सलक्ष्मणः ॥ २१ ॥ संनद्धः – निरंतर सज्ज, कवची – चिलखत घातलेला, अर्थ – चिलखत घातलेल्या व धनुष्य, बाण व तलवार यांनी निरंतर सज्ज असलेल्या तरूण श्रीरामामुळे आमचे मनोरथ सिद्धीस जावोत आणी लक्ष्मणासह श्रीराम आमचे रक्षण करोत.
रामो दाशरथिः शूरो लक्ष्मणानुचरो बली । काकुत्स्थः पुरुषः पूर्णः कौसल्येयो रघूत्तमः ॥ २२ ॥ काकुत्स्थः – ककुत्स्थ हे श्रीरामांच्या कुळाच्या मूळ पुरुषाचे नाव. त्याच्या कुळात जन्म झाला म्हणून श्रीराम काकुत्स्थ. अर्थ – दशरथपुत्र श्रीराम शूर आहे, लक्ष्मणासारखा बलवान मनुष्यही ज्याच्या पावलावर पाऊल ठेऊन चालतो असा (महान) आहे. ककुत्स्थ कुळातला हा पूर्ण पुरुष असलेला कौसल्येचा पुत्र रघुकुळात श्रेष्ठ आहे.
वेदान्तवेद्यो यज्ञेशः पुराणपुरुषोत्तमः । जानकीवल्लभः श्रीमानप्रमेयपराक्रमः ॥ २३ ॥ वेदान्तवेद्यो – वेदांत हे ज्याला जाणून घ्यायचे साधन आहे असा, पुराणपुरुषोत्तमः – सनातन पुरुष, जानकीवल्लभः – सीतेचा पति, श्रीमानप्रमेयपराक्रमः – श्रीमान् + अप्रमेय + पराक्रमः, अप्रमेय – ज्याच्या पराक्रमाची मोजदाद करता येत नाही असा पराक्रमी
इत्येतानि जपेन्नित्यं मद्भक्तः श्रद्धयान्वितः । अश्वमेधाधिकं पुण्यं सम्प्राप्नोति न संशयः ॥ २४ ॥ अर्थ – ह्या स्तोत्राचा जप जे माझे भक्त श्रद्धायुक्त मनाने करतील त्यांना अश्वमेध यज्ञापेक्षाही जास्त पुण्य प्राप्त होईल यात शंका नाही.
रामंदूर्वादलश्यामं पद्माक्षं पीतवाससम् । स्तुवन्ति नामभिर्दिव्यैर्न ते संसारिणो नरः ॥ २५ ॥ अर्थ – दूर्वादलासारखे सावळ्या वर्णाच्या, कमळासारखे डोळे असलेल्या, पिवळे वस्त्र परिधान केलेल्या (अशा) श्रीरामांचे दिव्य नाव घेऊन जे स्तुति करतात ते पुरुष संसाराच्या/ जन्ममरणाच्या जाळ्यातून मुक्त होतात.
रामं लक्ष्मणपूर्वजम् रघुवरं सीतापतिं सुन्दरम् । काकुत्स्थं करुणार्णवं गुणनिधिं विप्रप्रियं धार्मिकम् ॥ २६ ॥ राजेन्द्रं सत्यसन्धं दशरथतनयं श्यामलं शान्तमूर्तिम् । वन्दे लोकाभिरामं रघुकुलतिलकम् राघवं रावणारिम् ॥ २७ ॥ २६ व २७ श्लोकांचा एकत्र अर्थ -श्रीराम लक्ष्मणाग्रज, रघुकुळातले श्रेष्ठ, सीतेचे पती, व सुंदर आहेत. तसेच ककुत्स्थ कुळातले, करूणेचे सागर, गुणांचा खजिना, ब्राह्मणांना प्रिय असलेले व धार्मिक आहेत. राजांमध्ये श्रेष्ठ, सत्याशी कायम जोडलेले, दशरथपुत्र, सावळे व शांततेची मूर्ती आहेत. लोकांना प्रिय असणाऱ्या, रघुकुळात तिलकाप्रमाणे शोभणाऱ्या, रावणाच्या शत्रू आहेत. अशा (गुणांनी युक्त) श्रीरामांना मी वंदन करतो.
रामाय रामभद्राय रामचन्द्राय वेधसे । रघुनाथाय नाथाय सीतायाः पतये नमः ॥ २८ ॥ वेधसे – प्रजापतिला अर्थ – मी रामाला, रामभद्राला, रामचंद्राला, प्रजापतीला, रघुनाथाला, नाथाला, सीतेच्या पतीला वंदन करतो.
श्रीराम राम रघुनन्दन राम राम । श्रीराम राम भरताग्रज राम राम ॥ श्रीराम राम रणकर्कश राम राम । श्रीराम राम शरणं भव राम राम ॥ २९ ॥ अर्थ – श्रीराम हे रघुकुळातले श्रेष्ठ आहेत, भरताचे थोरले बंधु आहेत, रणांगणावर शूरवीर आहेत. अशा श्रीरामांना मी शरण आहे.
श्रीरामचन्द्रचरणौ मनसा स्मरामि । श्रीरामचन्द्रचरणौ वचसा गृणामि ॥ श्रीरामचन्द्रचरणौ शिरसा नमामि । श्रीरामचन्द्रचरणौ शरणं प्रपद्ये ॥ ३० ॥ अर्थ – मी श्रीरामांच्या चरणांचे मनाने स्मरण करतो, वाणीने गुणवर्णन करतो, शिरसाष्टांग नमस्कार करतो व शरण जातो.
माता रामो मत्पिता रामचन्द्रः । स्वामी रामो मत्सखा रामचन्द्रः ॥ सर्वस्वं मे रामचन्द्रो दयालुः । नान्यं जाने नैव जाने न जाने ॥ ३१॥ अर्थ – श्रीराम माझी माता आहेत, पिता आहेत, स्वामी आहेत, मित्र आहेत. दयाळू असे श्रीराम माझे सर्वस्व आहेत. मी त्यांच्याशिवाय अन्य कोणालाही जाणत नाही.
दक्षिणे लक्ष्मणो यस्य वामे तु जनकात्मजा । पुरतो मारुतिर्यस्य तं वन्दे रघुनन्दनम् ॥ ३२ ॥ अर्थ – ज्याच्या उजव्या बाजूस लक्ष्मण आहे तसेच डाव्या बाजूस सीता आहे पुढे मारुती आहे अशा श्रीरामांना मी वंदन करतो.
लोकाभिरामं रणरङ्गधीरं राजीवनेत्रं रघुवंशनाथम् । कारुण्यरूपं करुणाकरं तं श्रीरामचन्द्रं शरणं प्रपद्ये ॥ ३३ ॥ अर्थ – लोकांना प्रिय असलेल्या, रणांगणावर धीरगंभीर असलेल्या, कमळाप्रमाने नेत्र असलेल्या, रघुवंशात श्रेष्ठ असलेल्या, कारुण्याची मूर्ति असलेल्या, दया करणाऱ्या अशा श्रीरामांना मी वंदन करतो.
मनोजवं मारुततुल्यवेगं जितेन्द्रियं बुद्धिमतां वरिष्ठम् । वातात्मजं वानरयूथमुख्यं श्रीरामदूतं शरणं प्रपद्ये ॥ ३४ ॥ अर्थ – मनाप्रमाणे, वाऱ्यासारखा वेग असलेल्या, जितेंद्रिय, बुद्धिमान लोकांमध्ये श्रेष्ठ, पवनपुत्र, वानरांच्या सेनेचा मुख्य असलेल्या (हनुमानाला) मी शरण आहे.
कूजन्तं रामरामेति मधुरं मधुराक्षरम् । आरुह्य कविताशाखां वन्दे वाल्मीकिकोकिलम् ॥ ३५ ॥ अर्थ – कवितेच्या शाखेवर बसून वाल्मिकीरूपी कोकिळ राम राम अशा मधुर अक्षरांचे कूजन करत आहे, त्या वाल्मिकीरूपी कोकिळाला मी वंदन करतो.
आपदामपहर्तारं दातारं सर्वसंपदाम् । लोकाभिरामं श्रीरामं भूयो भूयो नमाम्यहम् ॥ ३६ ॥ आपदामपहर्तारं – आपदाम् + अपहर्तारं – दु:खसंकटांचा नाश करणाऱ्या, भूयो भूयो – पुनः पुनः अर्थ – दु:खसंकटांचा नाश करणाऱ्या, सुखसमृद्धी देणाऱ्या, लोकांना प्रिय असणाऱ्या श्रीरामांना मी पुनः पुनः नमन करतो.
भर्जनं भवबीजानामर्जनं सुखसंपदाम् । तर्जनं यमदूतानां रामरामेति गर्जनम् ॥ ३७ ॥ अर्थ – संसारवृक्षाची बीजे जाळून टाकण्यासाठी, सुखसमृद्धी मिळवण्यासाठी, यमदूतांना घाबरवण्यासाठी राम राम अशी गर्जना (जप) करावा.
रामो राजमणिः सदा विजयते रामं रमेशं भजे । रामेणाभिहता निशाचरचमू रामाय तस्मै नमः ॥ ३८ ॥ अर्थ – (या आणि पुढच्या श्लोकात राम शब्दाच्या सातही विभक्ति वापरलेल्या आहेत). राजांमध्ये श्रेष्ठ रामाचा सदा विजय होतो. मी रामाला, रमेशाला म्हणजेच रमेच्या पतीला- विष्णुला भजतो. रामाने राक्षसांचे समुदाय नष्ट केले. त्या रामाला वंदन असो.
रामान्नास्ति परायणं परतरं रामस्य दासोऽस्म्यहम् । रामे चित्तलयः सदा भवतु मे भो राम मामुद्धर ॥३९ ॥ अर्थ – रामापेक्षा अधिक कुशल कोणी नाही. मी रामाचा दास आहे. रामामध्ये माझा चित्तवृत्तीचा लय होवो आणि हे राम माझा उद्धार कर.
रामरामेति रामेति रमे रामे मनोरमे । सहस्त्रनामतत्तुल्यं रामनाम वरानने ॥ ४० ॥ वरानने – सुवदने, अर्थ – (शंकर पार्वतीला सांगतात) हे सुमुखी, मनाला आनंद देणाऱ्या रामाच्या ठिकाणी मी रममाण होतो. रामाचे एक नाव (विष्णूच्या) हजार नावांच्या बरोबरीचे आहे. इति श्रीबुधकौशिकविरचितं श्रीरामरक्षास्त्रोत्रं सम्पूर्णम् । अर्थ – श्रीबुधकौशिकऋषींनी रचलेले श्रीरामरक्षा नावाचे स्तोत्र इथे संपले.
॥ श्रीसीतारामचन्द्रार्पणमस्तु ॥ अर्थ – हे स्तोत्र श्रीराम व सीतेला अर्पण असो.
Omkar Prasad Nayyar was amongst all the composers in Bollywood, the first superstar, indeed he was the one who could be called the Rockstar in the field. He moved around in a Swanky Cadillac, commanded never before heard of fees for composing musical scores (He was the first to ask for – and get paid – in six figures). Life wasn’t always so easy for the man who was born in Lahore and had a keen interest in music as a career. After some initial training, he became famous for composing C H Atma‘s song broadcast by AIR, Preetam Aan Milo (incidentally the lyrics were scripted by his wife, Saroj Mohini Nayyar. It was later used by Guru Dutt and sung by Geeta Dutt in the movie Mr And Mrs ’55.
Amazingly, the man started his career as a composer by writing the background score for Kaneez, an Urdu Film made in the late 40s.His first three movies as composer : Aasmaan, Chham Chhama Chham and Baaz didn’t create waves and the heartbroken man was almost ready to quit Bollywood and move back to Lahore. As the grapevine says, Aasman was OP Nayyar’s debut film, a song in this film, ‘Jab See Piya Aan Base’, may have been the cause of the lifelong rift between OP Nayyar and Lata Mangeshkar. OP Nayyar had apparently approached Lata Mangeshkar for this song and when she turned it down, he recorded the song in Rajkumari’s voice (his only song with her) and vowed to never work with Lata. Rest of the songs in the movie were sung by C H Atma and Geeta Dutt. Amazing level of self-confidence / egotism by a debutante. Thanks to Geeta Dutt’s belief in the man, that OPN got introduced to Guru Dutt. Geeta Dutt convinced him to stay and got him work in Guru Dutt’s film Aar Paar. The film’s rhythmic and different music caught on with the film music audiences and removed any misgivings OPN (and others) may have had about making a career in Hindi films. It was also the beginning of a glorious partnership between OPN and Geeta Dutt, sadly short lived as OPN dropped Geeta Dutt and took a great interest in creating Asha Bhosle‘s career.
I love the song which shows Shakila, the top leading lady of the era as a danseuse in a watering hole of the era (there was not much of a restriction on showing smoking and guzzling alcohol those days without the on screen disclaimers).
Shakila looks absolutely fabulous and enchanting. A lot has been said about the movie by me in the previous posts. Guru Dutt in his Kalu role in his favourite film noire genre. I recently discovered that OPN had actually very cleverly adapted this unforgettable song. Listen to the original : this rendition is by Nat King Cole
This was based on the Cuban songwriter and composer Osvaldo Farres’ ‘Quizas Quizas Quizas’. This set me wondering about how many of the unforgettable Bollywood songs were really “original”. The song has been recently rendered by none other than Jennifer Lopez with the amazing Andrea Bocelli.
Asit Wagle, a close friend reminded me of Doris Day’s English version which I had overlooked. Here it is. She is so much more lovely, lively and emphatic.
Despite the recent rather shocking discovery, the song remains a perpetual favourite and an unforgettable one for me. Stay safe, folks, stay home and lets flatten the curve once again.
The observation of celestial bodies from the earth has been fascinating humans since times immemorial. The ancient humans soon discovered these to follow certain patterns (later predictable) and developed the ability to identify them, name them and later understand the significance of each as well as the position in the skies. The Ancient Indian Sages were way ahead of the rest of the world which was literally wallowing the darkness and happy about it. From the viewpoint of the observer on the earth, the movement of these bodies relative to one other gives rise to interesting phenomena, that are mathematically predictable. My own understanding of the subject is pitifully small , but my respect for these ancient Indian wise men’s study and in-depth understanding went up a zillion fold when I found they had explained, described and even predicted with an uncanny accuracy many phenomena including what I was honoured to witness a couple of nights ago.
An observer on earth, who is stationary and observing the skies and the celestial bodies may see two known bodies cross one other. The word “transit” refers to cases where the nearer object appears smaller than the more distant object. Cases where the nearer object appears larger and completely hides the more distant object are referred to as Occultations.
In ancient India, astronomers had described the phenomena of planetary transits and occultations accurately thousands of years ago. The occulted object may be a distant star, but in rare cases it can even be another planet, in which case the event is called a mutual planetary occultation or mutual planetary transit, depending on the relative sizes of the two celestial objects. (Smaller one in “front”= Transit, Larger one in “front”= Occultation).
A nature and animal lovers group that I am part of, had Mr Hemant Dhanorkar alerting us to the rarely occurring phenomenon early last week. He even told us the date and time it was expected to happen. We were all excited to be able to see this, the next 2 Martian Occultations are to happen in Dec 2021 but will both NOT be visible from India.
As a result all of us went to vantage points with the appropriate gear to capture the event. This series of pictures shows my personal journey and I was ecstatic I was able to capture this rare event on the camera.
Waiting for the phenomenon was in itself nail biting. It actually started about 5 minutes later than the alert received. Each photograph has the date/ time stamp. My wife and forever love was part of the excitement too.
In a matter of minutes, the whole drama had unfolded in front of my eyes and was over. My mother and mother in law weren’t must amused about all the brouhaha, but I suppose at that age, it would take a lot to excite them.
Thank you Mr Hemant Dhanorkar (the wise gentleman who I haven’t ever met in person). I hope I am able to witness many more of these truly rare and exciting phenomena, a dance of divinity, so to speak.
The song just popped into my head today while we were parking opposite a temple close to a park in the neighbourhood. The temple was locked in sync with the GoM diktat and so was the park. The sundry shopkeepers at the perimeter of the park were busy setting up their businesses and facial masks were prominently absent. COVID19 may as well be part of the Jovian Ganymede in all these blokes’ thoughts.
Lata Mangeshkar in her early 30s then has a tonal quality and vocal elasticity that is awe inspiring and unfortunately either went missing later or more likely not tapped by the composers who had her sing to their creations. The mettle of a composer is tested and on display with a great artiste, and not the other way around. This song with Latadidi has her voice on best display. The later cacophonous offerings from the 80s (and later) did not make her a lesser singer, whether she should have put her foot down and declined to sing such trash is a moot question. Rafisaab was similarly treated. The man who created some of the most divine melodies with some of the best composers was also made to (?forced by circumstance) sing some pretty ordinary songs where he was almost made to shout into the microphone and shows him off in a rather poor light.
Sautela Bhai was actually based on Sarat Chandra’s novel and was all about Mahesh Kaul who adapted the story, wrote the screenplay and dialogues, as well as directed the movie. With Guru Dutt, Raaj Kumar, Bipin Gupta and Pranoti Bhattacharya (as the step mother of Guru Dutt), the movie had an interesting premise, of a virtuous older son who is brought up by a step mother and stays back in the small town looking after his father’s business (and makes it prosper) while the younger half brother who shows greater academic prowess, goes to Kolkata to study and shine, sadly falls into bad company and takes to the bottle big time. The Bacchanalian adventures create a lot of stress for the family and the father becomes very sick. The step mother ensures that the father wills his entire property to the virtuous older son (Guru Dutt), adding a further dimension to the plot.
The lyrics for this amazing Anil Biswas composition are by Shailendra. Latadidi has sung possibly each and every genre of Indian music (and has not gone into the “Cabaret” numbers or rock), with enviable and flawless perfection. This singing skill is undoubtedly due to her rigorous training in Hindustani Classical Music starting with her illustrious father , and after his untimely demise, various other Gurus and Ustads. Such intense classical training gave her a degree of enviable vocal control, as seen in her singing innumerable compositions based on Hindustani classical raags. The ability to portray a raag better suited for a more elaborate exposition in a few minutes for a Bollywood song is indeed an enviable one and shows off her best.
One of the most prominent examples of this classical virtuosity is this song ‘Jaa Main Tose Nahin Bolun’. Composed by the legendary music director, Anil Biswas in Raag Adana, and at times deliberately crossing over into Raag Kaafi., using the difficult bol bandish thumri style, this is undoubtedly one of Latadidi’s most challenging and memorable songs. Anil Biswas was one of the early greats, who had (better than some of his peers) a keen sense of classical music and also a flair for introducing folk elements in his musical creations. This composition demands an in-depth knowledge as well skill with alaaps, taans and gamaks strung together, the song is challenging in pure singing aspects as well as others – the nakhra, the mock rage coupled with flirtatiousness to express the singer’s annoyance at her lover’s visit to another woman. The vocal emoting by Latadidi is sublime. She has lent her voice for both actresses, there is no pause, no interlude with instrumental pieces for her to take a pause and rest her vocal cords, and she has carried the entire song continuously. and effortlessly. The onscreen depiction of the Mujra is astounding: JeevanKala and Rani are just superb as the dancers. I just cannot compare the beauty and sensuousness of this form with the crass in-your-face-nudity of the current item numbers executed by the leading ladies, who have driven the nautch girls out of business. I am sure even Helen, the most acclaimed danseuse of a few decades would have desisted from executing such blatant raunchy numbers while being scantily clad. She wore a skin coloured suit for most of her career.
One of the best songs of the genre, the singing would challenge any wannabe cover singers to the limit of their vocal skills, and really test their vocal cords to the very extreme.
Stay safe, stay happy, healthy and stay away from the Chinese, virus and all their cheap products that have flooded the global markets, paving way for the evil empire to make inroads and carry on with their bio terror. Have a wonderful week ahead
